It staggers me how little the input of a great model can be valued. It's even more bewildering when this negligence comes from new and/or improving photographers! I will say with no doubt that the biggest influence on me having any clue what I am doing with my camera and myself on a photoshoot comes almost entirely from working with amazing, and just as importantly, honest models.

I am not sure if the issue is insecurity or ignorance or something else for that matter, but who better to discuss the subject of how to get the most from your shoot with a model, than the models themselves! This was definitely an eye-opening experience!

So I asked several very prolific and experienced models from differing genres and who work within different markets for their opinions on what photographers of all abilities can do to improve themselves and their work. What are they most commonly doing wrong and how is it hindering their own, or the models ability to produce the best work.

I will not be naming these models for more than obvious reasons and I would like to state that all of the forthcoming advice and opinions have been offered up by models (both male and female) asked one simple question;

What is the most common mistake made by photographers you have worked with?

So let's dive into these answers...

Fatigue & freeze:

Holy shit did this one come up a lot. All varying degrees of the same complaint. The photographer is cosily working away in is warmest duck-down coat with a thermos of coffee whilst expecting the model to work uninterrupted for vast periods of time in the freezing cold, usually wearing nothing close to what is appropriate. Even when the temperature is a little more model friendly, it may be worth keeping in mind that models do tend to be human and could occasionally do with being fed and watered (or at least be allowed time feed and water themselves). Some things that would help with this are; 1. Getting to know your gear, so you aren't faffing whilst they are freezing!2. Maybe not wrapping up so warm whilst expecting the model to suffer in next to nothing. I make sure I am always experiencing the elements as much as the model, it makes me work faster and builds a sense of togetherness and compassion!3. Save the summer shoots for the 3 days of summer that we actually get in the UK!

Rush hour:

Adopt the considered approach. Rather than machine-gunning 3k+ frames of as many lighting setups and styling changes as you can fit in just to get "value for money", try making every shot count. Every model that brought this up gave me a sense that they just get so demotivated and down about a creative experience becoming nothing more than a numbers game! A disinterested or demotivated model will show in the images and as one model put it; "I can't understand wanting tons of average or worse images over a few vastly better images"! So what can be done?1. Have a rough idea of what you want to achieve before the shoot starts and try to communicate this as best you can with the model! (More on this later!)2. Don't panic! Easier said than done, yes, but it's actually really simple to learn this behaviour. Take a moment before, during and after each set to look through and discuss the ideas and images with the model. Not only will this slow you down, but you'll get wonderful amounts of input into how the shots could be improved!

Secret secrets help no-one:

Sounds a strange one but stay with me on this. Almost every model talked in some part about the photographer either having no idea what they wanted to achieve or (and possibly worse) expecting the model to telepathically learn the mood, theme, expectations and framing of everything without so much as a disgruntled disapproving shrug from their apparent colleague. In addition to this, there were MANY(!!!) complaints that expectations of levels were either purposefully or ignorantly withheld until the eleventh hour as it were. What to do? Well, let's start;1. Informing the model of as much information as we can. Working levels, expectations for posing, styling, expression and so on.2. Show them the back of the bloody camera. Don't expect them to know the frame they are within or how the lighting looks. Work together for goodness sake!

Objection:

This just sucks to even have to discuss, but it applies to everyone from new, amateur photographers all the way up the food chain. It's 2017 and it is really depressing to read so many people talking about being spoken to like an idiot or like they are a piece of property. IT'S 2017 FOR FUCKS SAKE!1. Manners cost nothing. They usually also result in better working relationships, shockingly.2. The more someone resents you, the less they will be willing to give any effort or understanding and that will effect the main reason for anyone being there, the image!

Inappropriate language:

I cannot even begin to understand how this is still an issue for some people to understand. Did I mention it's 2017...

When speaking about parts of the body, there are words that work substantially better than others to not only communicate your point, but also allow the model some dignity. Why that option wouldn't be taken is beyond me, but hey, it apparently is demonstrably not the way for some. So, in short;1. Yes: Shoulders/hips/chin/eyes/legs etc.2. No: tits/arse/pussy/fanny/fat etc.3. This applies to social media and photo comments, don't make others uncomfortable and yourself look like a joke!

Silence is the enemy:

I am a quiet photographer! I don't shut up most of the rest of the time, but when my camera is to my face, I am very quiet. Silence can be very off-putting and create a sense of things not going well. Being in front of a camera takes a tremendous amount of confidence even for a veteran model. When shooting, have some music playing. Loud enough help instil the mood, but not too loud that direction goes unheard. 1. Play music that matches the mood of the shoot, i.e. uptempo music for edgier fashion, soft music for more sultry or thoughtful expression. 2. Keep the positivity flowing by assuring the model as you go.

Inadvertent insult:

So this one is actually really an important one to bear in mind. A few of the models I have heard from have pointed out that on several occasions a photographer will be chatting nonchalantly about another model or a even a celebrity and make disparaging remarks. The interesting thing is, often the photographers comments will accidentally but directly insult the model they are talking too. Either insulting their looks, their previous work or, in one case, their lack of accomplishments.

Here's one story...

"I was shooting with a really lovely photographer for the second or third time, we'd never had a previous issue of any sort. Half way through he started taking about how any model who isn't with an agency is just an "Instagram whore" and too lazy to get a real job. I informed him I wasn't agency signed and actually work really hard at what I do. We haven't shot together since."

DO NOT TOUCH:

*sigh...*

I am just going to leave this quote here...

"...touching the model without asking, most professional models won’t mind when it’s a hair or a piece of clothing etc. ,We know not everyone is a pervert and it’s all about the shoot but generally we don’t like it and big no when your nude modelling. I once had a ‘photographer’ put his hands on me to try and pose me while I was semi-nude on the floor without asking, If you can’t commutate what you want, sit and have a chat with the model to discuss, show her some images of poses you do want etc., don’t physically touch her especially when she is nude. You’re a stranger; she doesn’t know you and touching her could be seen as sexual/creepy."

*...sigh*

No means no-confidence:

Nothing can be more demanding on the model than to be working hard to get the images the photographer wants, only to be shot down with a disrespectful "no" or "thats not good, do something else" or one I've heard on far too many workshops, "thats not working, can you just...". Yes it is vital to communicate how you want things to go and your expectations generally, but when a model is doing her level best only to have her confidence knocked by ill-mannered disapproval, that sucks! Here's how that can be avoided;1. Don't use negative language, shoot off a couple of frames, and steer the model in the right direction.2. Say something like, "ok cool, how about we try it with your hair down" or "alright these look great, can we try it like this...". Simple enough to get around and doesn't require anyones feelings to get hurt or confidence to be knocked!

Space-invaders:

Give the model a space to call her own. Don't go in the dressing room unless asked, its just poor form. Obviously this applies tenfold when you both know full well he/she's changing! Interrupting someones personal space is rude, creepy and often down right threatening! I'll just leave another quote here...

"I once had a ‘photographer’ ask me why I am changing behind the screen when he has already seen me naked….creepy."

Control freak:

I can totally understand that everyone will have their own style and personality when it comes to directing the model. As previously stated, I am a very quiet shooter. I use small phrases or express basic moods to get my point across. For others a more detailed directional approach may work best. But a common theme with the advice I was offered from models for this was an issue with micro managing a models posing and expression. Many said that the more they were controlled down to the last detail, the less the shots worked and the more enthusiasm the model lost for the set. Now i know that the inevitable comment will come from you that, if the model is less experienced, they will need the help. OK, but would I have asked less experienced models to advise photographers on something they are still finding their feet in? Nope.

Here's one of many quotes I could have posted here...

"I'd say overdirecting and overcontrolling the poses. I really feel that when I have the freedom to pose and get into a flow then that helps when creating great images. If the photographer spends too long forcing you into a particular pose and micro managing then it can become stale and can end up feeling restrained"

And here are a few honourable mentions...

Models talk to each other, a bad reputation is nothing to be proud of!

Booking a model for a genre that they don't suit i.e. a fashion model for a glamour shoot etc.

Making politically, racially or generally discriminative comments.

ver complimenting to the point of it becoming uncomfortable and personal.

Thinking that owning a lot of gear makes the photographer any better/more impressive.

Bashing other photographers work. (This was common and the definitely didn't seem to impress those that mentioned it.)

Persisting on a request for something the model wasn't comfortable doing.

Having a mismatched portfolio/no consistency in their work meant that the model would be less inclined to want to work with them.

Obsessing over followers, likes, online awards, comments.

I just want to say a massive thank you to all of the models who gave up time to offer advice. It may seem some of these are difficult to swallow or even wrong. But I would urge any and all photographers to take these points on board and think about how they can be utilised to improve your work and your working methods!

What do you think? Do you have any that could be added to the list? Let me know in the comments.

I will be writing a blog in response to this, asking photographers their thoughts and advice for models, should be interesting...

In a continuing top ten theme, this time we will be tackling portraits. Probably my favourite form of photography and one that is very easy to connect with as we are so easily drawn to faces and expression.

So in no particular order, here is...

10 Tips To Improve Your Portraiture (Fast)

Don't Shoot Straight Away: Whilst the inclination with photography, especially for those that don't have the opportunity to do it as often as they like, is to get shooting and shoot as quickly and often as possible, this can be a massive detriment to your work. Talk to your subject. Don't talk about photography or the job at hand, but talk about life. Ask them questions and get to know them. That way you will be armed with plenty of ammunition when you want to draw an expression or reaction out of them without it being forced or contrived.

Scene & Detail: Whilst this always seems to be underestimated by photographers that come on my workshops, I cannot stress the importance of this enough! Give yourself options wit image selection by shooting a variety of headshot, half-body and three quarter length shots. The wider of these will help you incorporate the environment which can be great if the setting ties into the narrative of the portrait, though this can be tricky (we'll cover that in a minute). There is nothing worse than getting back to look through and select your image and find you wished you'd have shot more than tight headshots or what not. Give yourself options.

Know Your Headroom: Headroom is a very subjective and tricky compositional subject and one that will draw many disagreements between basement-dwelling trolls and 50 year pros alike. Here is my take (and I can't stress enough that this is just my opinion): More headroom has more of a thoughtful, whimsical or positive connotation. Leaving space above the subject can give an airy feel that threads the subject more into the environment. Whereas tight headspace (clipping through the head of the subject) can give a much more serious, cinematic and focussed feel. Experiment with this and find your rhythm with it. But just make sure you're not just shooting at random!

Keep It Simple: This means everything! Subject, lens, setting, styling, lighting, everything!!! I spent the first 18 months I owned a camera with a 135mm F2 lens glued onto my 5D. I grew to know the strengths and weaknesses of this lens/camera combination. By restricting that part (the part that everyone seems to get themselves stuck on) I could focus on lighting, composition and building rapports with my subjects. Limitations make us more creative. Even now, I like to spend an hour or two a month, one camera/lens, simple styling, on location either on any average street or run of the mill setting and just shoot some simple portraits. You'll be surprised how fast your abilities will improve and how much fun you will have!

Shoot More Men: It's not hard to work out why women dominate the space in front of most cameras. But it is kind of weird. Portraiture is often about the narrative of the subject. Their expression and surroundings are often the reason for holding the attention of viewer and mens faces are often ripe with character and intrigue. Add to this that it is (compared to female subjects) massively under utilised. What better way to standout as a photographer than to do something that so many won't do (often for misguided reasons).

Continuity: Now this won't apply to everything portraiture related, but the sooner you learn when it does reply, the sooner you get out of probably the worst stage of portrait photography! So what d I mean by continuity? Well... make sure that all the elements that make up your image are connected and make sense in relation to each other. So your lighting matches the setting. the expression matches the composition. The styling matches the environment and subject. All of these things are so incredibly overlooked by photographers who with have sensory overload and wind up with a shot that looks like an utter shambles or (and much more annoyingly) a shot that has just about everything going for it but is ruined by something not matching up.

Shooting Height, Shooting Height, Shooting Height: I nag and bitch and whine and moan about the so much I need to change the record really. But in all seriousness this is the main culprit for making a photographer look like a GWC. Me and my wife call it "shooting in 5'6". We do not mean the aperture, we mean shooting at 5 foot 6 inches off the floor. Because that is how the the camera is when the photographer just stands around, camera stuck to face, pointing and shooting. Want your subject to look taller? Get low and shoot up! Want an unusual perspective? Get high and shot down! The general rule I apply is; Take the framing of the image you want to create, half way up that composition is the most flattering/boring point that will ease any distortion issues. Bringing yourself down from there will create a taller more powerful subject and detach them from the viewer (great for fashion). Bringing yourself higher from the middle of the frame will connect the viewer and subject more and can create more of a sense of vulnerability. Depending on expression, this can be either a positive or a negative thing.

Mood Boards Clue Everyone In: This should be a no brainer, but there isn't a scenario where a mood board would be anything but massively helpful in communication your ideas and vision to your subject and anyone else involved. A lot of people who dismiss mood boards often state that either they can't communicate their idea in one image or that they are too time consuming. Firstly, thats why you have a board! You can use several images to indicate anything from styling, lighting, mood, expression, editing and so on. Secondly, they are time consuming, but also a hell of a lot of fun and a great inspiration to get yourself in the zone for the shoot!

Only work with the best subjects: When you're starting out, often the most frequented path is to book a fairly cheap local model who will humour you and stand in front of the camera with little to no issue. Nothing wrong with that, right? Well, I have always seen a shoot as a 50/50 partnership between photographer and subject. So if you are in any way having to help or advise the model about their 50% when you are probably not really able to be any help, you are also not able to focus on your 50%. There is something of a false economy with lesser experienced models. Book an experienced model with a great portfolio, even if it is for less time than you think you need! Tell the model what you are trying to achieve (point number 8!) don't try anything too complicated (point number 4!) and ask the model for their thoughts and advice. They have probably worked with some great images and you will be surprised by how much more helpful a great model can be to your photography than some photographers!

Use Fast Primes: This is purely personal but if something has been such a revelation for me, why wouldn't I recommend it? Ditch the comfort and blandness of a zoom lens and get yourself some fast primes! I currently have what I believe to be the perfect portrait lens setup for my system. 35mm F1.4 | 50mm F1.2 | 85mm F1.2 | 100mm F2.8 | 135mm F2. I can already hear the complaining about the cost of some of these lenses, but I am not telling anyone to blow their bank balance on anything! Pretty much all systems will have a fast 50mm (or 50mm equivalent) which is an ideal starting point. Canons nifty fifty for example is one of the sharpest and best performing lenses I have used and costs next to nothing in photography equipment terms. If it wasn't for the need for getting 1.2 for weddings, I wouldn't have sprung the extra money for the L lens.

Fast primes will get you moving, really thinking about your composition. You will learn to "see" in the focal length and you will learn the focal lengths strengths and weaknesses. There is also a very decent argument for improved sharpness over zooms and the wider apertures can create a much more cinematic and interesting look to the image. I will also bet that whenever I see an overly vanilla, boring portfolio of a photographer that has been shooting more than a little while that they are a zoom lens user. Call it my party trick!

Okay, that's a pretty mad and varied list of tips for portrait photography. Whilst this may not be the most linear list, that is primarily because I think these are the areas that helped me push forward with improving my work!

So, get one fast prime, book an amazing model for 2 hours, keep the styling simple and use a moodboard. Play with composition and shooting height. Talk to your subject and ask their thoughts on the images. Then come back to me and tell me you see no improvement at all!

Here is a list of my absolute favourite fashion photographers right now. The photographers that I most look forward to seeing new images, following their evolution and sourcing inspiration from their creativity and style!

10 Fashion Photographers You Should Be Following

Jeff Tuliniemi: From his cyan-tinged editorials to his moody polaroids, I start this list with the not-so-local, local guy. I met Jeff a couple of years back when I first started with a camera and he just oozed positivity, creativity and class. His colour-grading alone puts him head and shoulders above most. My personal favourites of Jeff's work is his editorial "Moonlit Reminiscence", featured in Flawless Magazine. www.jtuliniemi.com

Khoa Bui: Woodland Hills, California based photographer and cinematographer was actually brought to my attention by Jeff Tuliniemi. His audacious styling, ridiculous colour work and out-there wide angles create some of the most grabbing and bold images and videos that can be found anywhere! www.khoabui.com

Glenn Norwood: The king of gels. I found Glenn on instagram a year or so back and have found myself scrolling through his back catalogue more than a few times since. Every piece of new work coming from Glenn somehow manages to both hold his edgy style but also remain fresh and exciting. Harder than you'd think! www.norwoodphotography.co.uk

Michael Woloszynowicz: Maybe known more for his beauty work or retouch videos than his fashion work, Michael's a lighting master and has a portfolio full of effortless, simple elegance. The Toronto-based wizard has a fantastic tutorial with RGGedu that I can highly recommend! www.vibrantshot.com

Emily Soto: The reason I photograph people rather than landscapes! I stumbled upon Emily's soft and beautiful fashion portraits on youtube and was instantly sure that this was the kind of work I wanted to chase! In recent years, her work has moved more towards film, polaroids and vintage lenses, all whilst keeping her distinguished and delicate style. www.emilysoto.com

Sophie Black: A very recent find on 500px, I cannot recommend enough that you spend an hour really going through everything that Sophie has to offer. I cannot even describe her style as there are so many twists and turns, stylistic variances and moods galore. Go and check her work out right now! www.500px.com/sophieblack

Voodica: Another 500px find, Polish photographer and retoucher Voodica is another chameleon of many a style, but at their very best when creating beautiful, painterly portraits. The amazing part of their work is that whilst there are many photographers out there that work within this style, Voodica's work always stands above the rest. A masterclass in expression, styling and composition. voodica.tumblr.com

Alessandro Di Cicco: You have already seen a lot of Alessandro's work, even if you don't realise it. www.diciccophotography.com

Maryna Khomenko: A fantastical mix of fine art and simplicity. I have a real hatred for the word "conceptual" when applied to photography, mainly due to it being tacked on to anyone who repeats the tired old cliche's stolen from other parts of popular culture whilst a whispy ginger model "levitates" in a field. However, Maryna has some stunning takes on expanding simple ideas and executes them with class and grace. Beautiful work! www.500px.com/manirka

Adamo de Pax: Another Canadian genius whose work beams with warmth and attitude. As with so many amazing fashion photographers, Adamo is a colour grading master who takes seemingly simple lighting and creates genuine drama and beauty. His commercial work is a masterclass on the subject and his beauty work is just so damn cool! www.adamodepax.com

Hopefully this has introduced you to some new names and portfolios to inspire and drive you forward!

So I thought I would start using this blog to post helpful tips and advice on subjects that perhaps get overlooked, great photographers that you should be following and even talking about gear techniques.

A question I have been asked on workshops and online a fair bit recently is how to narrow down images from a shoot and select only the best. What will make you stand out, minimise unnecessary editing time and help towards a striking and effective portfolio.

So with that in mind, here are...

10 tips to help with image selection

Expression Is Everything: First and foremost, if you are photographing portraits, fashion etc. the expression of your model is so overlooked. It is the most important aspect as this is where your viewer will connect the most with the image and if the expression doesn't suit the image or is completely uninterested, it would be hard to blame the viewer for not taking much interest themselves.

Focus Is A Close Second: If you have an image with everything going for it, lighting, composition, styling and great expression but the focus is a near miss, you may be able to get away with it. After all, focus isn't everything (despite what you've heard in the bowels of troll-infested forums). But with that said, it is obviously ideal to nail the focus as an image being slightly out could cause a distraction. That said, I would rather have great expression and slightly missed focus than tack sharp boredom.

Shoot Less: One thing that will help with boring your subject and killing their expressions effectiveness is to avoid taking 300 images per set. It is a myth (an understandable one, but a myth nonetheless) that taking more images will increase your hit rate. Your subject will find it very hard t stay interested if they have been standing for 45 minutes whilst you machine-gun them into oblivion. Especially if you're the quiet type. Try an limit yourself to a small number of shots so that once you're happy with the light and theme, every frame will be far more valuable!

Pre-Visualise The Image Before The Shoot: This one is simple; know roughly what you want the image to look like before you take the shot. I have found it best to avoid the "let's see what happens" approach. There will always be room for creative chaos, but having an idea beforehand means you'll know when you've got what you wanted.

Wait Before Editing: If you edit immediately after the shoot, you will have a natural inclination to pick the images you have the most emotional attachment to. Whilst in things like wedding work this can actually be very helpful, it is best to have an impartial eye for what is best photographically.

Set Restrictions: Only allow yourself to select 2-3 images from each set. Unless you are shooting something for commercial purposes or an editorial, any more than this is just a bit pointless and a waste of editing time. You are only as strong as the weakest image, so only pick the strongest.

Diptychs Are A Great Cheat: I use diptychs to navigate the above as best I can by pairing two images together as one. It's also a great way to fill the screen when working with portrait orientated images.

Bare Your Portfolio In Mind: Do you need all these images if there is already the same image 50 times on your website etc.? Whilst I am a massive advocate for developing a clear style, having a ton of images from several shoots that are too similar will create a massive sense of boredom within your portfolio.

Ask The Subject: As a photographer, you are most likely looking at which image is photographically best, which is great. But your subject will see the image in a totally different way. So ask them which they prefer and why. Don't be offended or surprised at which they pick, just use it as a learning experience. Plus, sometimes you may just want to ignore them anyways!

Select Something Different: Lets say you shot a set where half the time you were shooting headshot and the other half you were shooting three-quarter length shots. Well pick the strongest headshot and the strongest three-quarter. There will be almost no need for multiple headshot of the same person, in the same light, shot in the same way.

Hopefully that helps, please feel free to leave a comment with your tips or of what you would like me to discuss next.